Atnaujinta lapkritis 2026 · pagal mūsų populiarumumo koeficientą (paieškos, lankytojai ir užsakymai kiekvienam kūriniui) · 83 Pietro Lorenzetti darbai mūsų kataloge
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Galerijos akimais, garsiausias Pietro Lorenzetti tapas yra Madonna Enthroned with Angels (1340), kurio originalas eksponuojamas Galleria degli Uffizi, Florencija. The Apostles Saint Andrew and Saint James the Lesser, with a Prophet (1328) ir Saint Mary Magdalene, with an Angel [left panel] (1340) užbaia trio, kurį atpažįsta kiekvienas ž)/\ Iš 83 Pietro Lorenzetti darbų mūsų kataloge, galerija žemiau pristato 82 garsiausius – kiekvienas yra originalus, su nurodytu metais, muziejumi bei unikaliu aprašymu.
Pietro Lorenzetti's Madonna Enthroned with Angels, painted around 1340 in Siena, isn’t merely a depiction of the Virgin Mary and Child; it’s a profound meditation on faith, divine grace, and the nascent embrace of humanism within the heart of medieval Italy. This magnificent panel, now housed within the Uffizi Gallery in Florence, offers a captivating glimpse into the artistic landscape of its time – a period poised between the rigid…
Gold leaf forms a luminous, patterned sky behind the figures, its surface textured by delicate punchwork. This 14th-century tempera work on wood panel creates a shallow, sacred space. Two pointed arches, supported by a central pillar, frame the holy figures like windows into a celestial realm. At the summit, a smaller, elevated niche holds the bust of a Prophet, whose white scroll unfurls through the air. The light does not…
![Saint Mary Magdalene, with an Angel [left panel] (1340) aut. Pietro Lorenzetti](/media/artworks/images-full/66/47/66478c5653f734a8328f140aaa90e075.jpg)
This tempera on wood panel, dating to 1340, presents a vertical composition within a pointed arch. The figure of Saint Mary Magdalene occupies the primary space, her presence defined by heavy, sculptural drapery and a steady, frontal gaze. Above her, a smaller angelic figure emerges from the apex of the arch, creating a hierarchical arrangement typical of the Sienese Gothic tradition. The use of gold leaf creates a luminous, non-spatial…
The composition unfolds within a tightly structured, compartmentalized architectural space. Arches and walls frame a central, intimate scene of religious vigil. A figure lies upon a bed, the focal point of the arrangement, surrounded by attendants who offer prayers and support. The scene is rendered with a degree of realism, capturing the heavy drapery of garments and the solemnity of the moment. Earthy tones of ochre, brown, and red dominate…
A Crowned Female Figure (Saint Elizabeth of Hungary?) is a work by Pietro Lorenzetti, dated 1334. This fragment of a fresco, once part of the border decoration in the chapter house of San Francesco in Siena, presents a solitary female figure. The subject is identified in various records as a female saint, with some interpretations suggesting the Annunciate Virgin or one of the Marys. The specific identity of Saint Elizabeth…
This fresco fragment, dating to 1334, presents the upper torso and head of a female figure, likely a saint, rendered in a style characteristic of the Sienese school. The subject is positioned diagonally across the irregular, broken edges of the plaster. A muted palette of ochre, beige, cream, and soft browns defines the composition, with subtle traces of pale blue or grey appearing in the folds of the drapery. The…
The Virgin Mary sits upon an ornate, patterned cushion, her presence anchored by the weight of deep ultramarine blue. She holds the Christ Child, a small figure of divine gravity amidst a sea of gold leaf. Around them, the air is thick with the presence of the sacred. Angels lean in with rhythmic folds of drapery, their forms caught in a shallow, tiered arrangement that suggests a heaven pressing close…
To stand before Pietro Lorenzetti’s depiction of Beata Umiltà Transports Bricks to the Monastery is to step directly across the threshold into the profound spiritual atmosphere of 14th-century Siena. This painting is not merely a record of an event; it is a meditation on piety, humility, and the quiet dignity found in service. The composition immediately draws the eye into a narrative unfolding within a modest, yet architecturally defined, urban…
The air feels heavy with a sacred, suspended tension as the scene unfolds against a shimmering expanse of gold leaf. At the center of this celestial stage, the figure of Christ hangs upon the cross, his body slumped in the heavy, visceral reality of suffering. The light does not fall from a sun, but seems to emanate from the very background, casting a symbolic glow over the unfolding tragedy. Around…
To stand before this depiction of The Approval of the New Carmelite Habit by Pope Honorius IV is to step directly into the vibrant, deeply spiritual atmosphere of early Quattrocento Siena. Pietro Lorenzetti masterfully captures a moment charged with both solemn ritual and profound communal affirmation. The scene unfolds within an interior space, richly populated by figures whose collective presence speaks volumes about devotion and institutional growth. One can almost…
The Miracle of the Ice1341 · Staatliche Museen zu Berlin
12
Predella panel: The Pope Issues a Bull to a Carmelite Delegation1328 · Pinacoteca Nazionale
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Madonna and Child (detail of a polyptych)1320 · Pieve di Santa Maria
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The Capture of Christ (detail)1320
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Crucifix1320 · Museo Diocesano
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Crucifix (detail)1320 · Museo Diocesano
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Crucifix (detail)1320 · Museo Diocesano
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Crucifix (detail)1320 · Museo Diocesano
19![Madonna and Child with the Blessing Christ, and Saints Mary Magdalene and Catherine of Alexandria with Angels [entire triptych] (1340) aut. Pietro Lorenzetti](/media/artworks/images-thumb/3d/b2/3db2db25071f0fe2d52a1cd83eb9e8ff.jpg)
Madonna and Child with the Blessing Christ, and Saints Mary Magdalene and Catherine of Alexandria with Angels [entire triptych]1340
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Shaped Cross1325 · Museo Diocesano
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Predella panel: St Albert Presents the Rule to the Carmelites1328 · Pinacoteca Nazionale
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Predella panel: The Annunciation to Sobac1328 · Pinacoteca Nazionale
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Predella panel: Hermits at the Fountain of Elijah1328 · Pinacoteca Nazionale
24![Madonna and Child, with the Blessing Christ [middle panel] (1340) aut. Pietro Lorenzetti](/media/artworks/images-thumb/77/88/7788e6d9fa683a3079c17a71c8d4ef6c.jpg)
Madonna and Child, with the Blessing Christ [middle panel]1340 · National Gallery of Art
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The Birth of Mary1342 · Museo dell'Opera del Duomo
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Madonna with Angels between St Nicholas and Prophet Elijah1328 · Pinacoteca Nazionale
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Virgin and Child1340 · Lindenau-Museum
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View of the south transept1320
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Man of Sorrow1340 · Lindenau-Museum
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The Adoration of the Magi
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Assisi crucifixion Crucifixion
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Saint Sabinus before the Governor of TuscanyNational Gallery
33![Saint Catherine of Alexandria, with an Angel [right panel] aut. Pietro Lorenzetti](/media/artworks/images-thumb/94/49/944909e210d0e046b6efe42c94e5fb63.jpg)
Saint Catherine of Alexandria, with an Angel [right panel]National Gallery of Art
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Man of Sorrow1330 · Lindenau-Museum
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A Female Saint (Fragment)Harvard Art Museums
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A Female Saint (Fragment)Harvard Art Museums
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Virgin and Child Enthroned and Donor, AngelsPhiladelphia Museum of Art
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Elisha's well
39
Deposition
40
Assisi-arch-Deposition of Christ from the Tomb
41
Assisi-crucifixion-Crucifixion (detail)4
42
Assisi-vault-Entry of Christ into Jerusalem (detail)2
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Assisi-vault-Flagellation of Christ (detail)
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Assisi-crucifixion-Crucifixion (detail)2
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AssisiPanoramic view of the frescoes
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Assisi-vault-Entry of Christ into Jerusalem (detail)
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Assisi-arch-Stigmata of St Francis (detail)
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Assisi-crucifixion-Crucifixion (detail)
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Assisi-crucifixion-Madonna with St Francis and St John the Evangelist
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Assisi-vault-The Road to Calvary (detail)
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St. Sabinus Before the Governor, detail, -
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Assisi-crucifixion-Crucifixion (detail)3
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Assisi-crucifixion-Crucifixion (detail)5
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The CrucifixionMetropolitano meno muziejus
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Annunciation
56
Saint Margaret or Agatha1315 · Musée de Tessé
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Madonna and Child
58
The birth of Mary, 1342, Museo dell'OperaMuseo dell'Opera della Metropolitana
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Monticchiello Altarpiece1315 · Musée de Tessé
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Madonna di Monticchiello1315
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Mary with child and saints1327 · Pinacoteca Nazionale
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Virgin Enthroned with Child and Four Angels1320 · Museo Diocesano
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Three Saints1315 · Museo Horne
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Judas hanged1310
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Crucifixion of Christ1336
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Risen Christ1336 · Museo dell'Opera della Metropolitana
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Madonna Col Bambino Fra Otto Angeli
68
Assisi arch Resurrection
69
Assisi-arch-Descent into Limbo
70
Saint Catherine of AlexandriaMetropolitano meno muziejus
71
Assisi-vault-The Washing of the Feet
72
Assisi-vault-The Road to Calvary
73
Assisi-arch-Painted architecture
74
Assisi arch Entombment
75
Assisi-vault-Entry of Christ into Jerusalem
76
Assisi-arch-Madonna and Child with St Francis and St John the Baptist
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Assisi-vault-The Last Supper
78
Assisi-arch-Stigmata of St Francis
79
Assisi-vault-Flagellation of Christ
80
Deposition of Christ from the Cross 1
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Assisi-vault-The Capture of Christ
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Adoration of the Magi1340 · Liuvro muziejus
#2 The Apostles Saint Andrew and Saint James the Lesser, with a Prophet
![Saint Mary Magdalene, with an Angel [left panel] (1340), Pietro Lorenzetti](/media/artworks/images-thumb/56/70/567081333697abce62276a169dde6184.jpg)
#3 Saint Mary Magdalene, with an Angel [left panel]
#5 A Crowned Female Figure (Saint Elizabeth of Hungary?)
#6 A Female Saint in Yellow
#7 Enthroned Mary with the Child, Adoring Angels and the Saints Paul, John the Evangelist, John the Baptist and Peter
Ketverios temos, dažniausiai pasikrausto originaluose, kiekvienos su savo puikiausiu pavyzdžiu.
8 muziejai, kuriuose saugoma daugiausia šioje pusėje esamų paveikslų.
| Muzejaus | Miestas | Pietro Lorenzetti darbai | Šiojo sąrašo paveikslai |
|---|---|---|---|
 Pinacoteca Nazionale |
Siena | 7 | Predella panel: The Approval of the New Carmelite Habit by Pope Honorius IV, Predella panel: The Pope Issues a Bull to a Carmelite Delegation, Predella panel: St Albert Presents the Rule to the Carmelites |
 Museo Diocesano |
Kortona | 6 | Crucifix, Crucifix (detail), Crucifix (detail) |
 National Gallery of Art |
Vašingtonas | 3 | Saint Mary Magdalene, with an Angel [left panel], Madonna and Child, with the Blessing Christ [middle panel], Saint Catherine of Alexandria, with an Angel [right panel] |
 National Gallery |
Londonas | 3 | A Crowned Female Figure (Saint Elizabeth of Hungary?), A Female Saint in Yellow, Saint Sabinus before the Governor of Tuscany |
 Harvard Art Museums |
Kembrižas | 3 | Christ on the Cross with the Virgin and Saints Clare, John the Evangelist, and Francis, A Female Saint (Fragment), A Female Saint (Fragment) |
 Lindenau-Museum |
Altengau | 3 | Virgin and Child, Man of Sorrow, Man of Sorrow |
 Galleria degli Uffizi |
Florencija | 2 | Madonna Enthroned with Angels, Beata Umiltà Transports Bricks to the Monastery |
 Staatliche Museen zu Berlin |
Berlinas | 2 | Beata Umiltà Heals a Sick Nun, The Miracle of the Ice |
Pasirinkite dešimtmetį, kad pamatytėte jį apibrėžusį originalą.
Gold leaf forms a luminous, patterned sky behind the figures, its surface textured by delicate punchwork. This 14th-century tempera work on wood panel creates a shallow, sacred space. Two pointed arches, supported by a central pillar, frame the holy figures like windows into a celestial realm. At the summit, a smaller, elevated niche holds the bust of a Prophet, whose white scroll unfurls through the air. The light does not…
A Crowned Female Figure (Saint Elizabeth of Hungary?) is a work by Pietro Lorenzetti, dated 1334. This fragment of a fresco, once part of the border decoration in the chapter house of San Francesco in Siena, presents a solitary female figure. The subject is identified in various records as a female saint, with some interpretations suggesting the Annunciate Virgin or one of the Marys. The specific identity of Saint Elizabeth…
Pietro Lorenzetti's Madonna Enthroned with Angels, painted around 1340 in Siena, isn’t merely a depiction of the Virgin Mary and Child; it’s a profound meditation on faith, divine grace, and the nascent embrace of humanism within the heart of medieval Italy. This magnificent panel, now housed within the Uffizi Gallery in Florence, offers a captivating glimpse into the artistic landscape of its time – a period poised between the rigid…
Madonna Enthroned with Angels (1340), Galleria degli Uffizi, Florencija. Toliau seka The Apostles Saint Andrew and Saint James the Lesser, with a Prophet (1328) ir Saint Mary Magdalene, with an Angel [left panel] (1340).
60 metų amžiaus: Madonna Enthroned with Angels sukurta 1340 m. Nr. Pietro Lorenzetti gimė 1280.
Madonna Enthroned with Angels, The Apostles Saint Andrew and Saint James the Lesser, with a Prophet, Saint Mary Magdalene, with an Angel [left panel], Beata Umiltà Heals a Sick Nun, A Crowned Female Figure (Saint Elizabeth of Hungary?), A Female Saint in Yellow, Enthroned Mary with the Child, Adoring Angels and the Saints Paul, John the Evangelist, John the Baptist and Peter, Beata Umiltà Transports Bricks to the Monastery, Christ on the Cross with the Virgin and Saints Clare, John the Evangelist, and Francis ir Predella panel: The Approval of the New Carmelite Habit by Pope Honorius IV. Viršuje esančioje reitingo sąraše nurodyta kiekvieno kūrinio metis ir muziejus.
Mūsų kataloge yra 83 Pietro Lorenzetti darbų, skirtų laikotarpiui nuo 1310 iki 1345.
Daugiausia – Pinacoteca Nazionale (Siena), Museo Diocesano (Kortona) ir National Gallery of Art (Vašingtonas). Viršuje esančiame muziejų sąraše yra visi jie.
1320s laikotarpiu: 18 iš 82 šioje pusėje esančių darbų buvo sukurtos tada, iš jų The Apostles Saint Andrew and Saint James the Lesser, with a Prophet.
Šioje pusėje seniausias darbas yra Judas hanged (1310), o naujausias – Enthroned Mary with the Child, Adoring Angels and the Saints Paul, John the Evangelist, John the Baptist and Peter (1345).
Buildings (15), Woman (13) ir Gold background (9) iš 82 šioje pusėje esamų darbų.
Tempera On Panel, iš 82 šios puslapio darbų – 16.
Proto-renaissance, vadovaujantis šios puslapio originalais kūriniais.
Predella panel: The Approval of the New Carmelite Habit by Pope Honorius IV, Predella panel: The Pope Issues a Bull to a Carmelite Delegation ir Predella panel: St Albert Presents the Rule to the Carmelites: Pinacoteca Nazionale, Siena kolekcijoje yra 7 šioje pusėje esančių darbų.
Pietro Lorenzetti (apskr. 1280–1348) yra viena svarbiausių Sienos meno figūrų, pažymėjusi gilią perėjimą nuo gotikybės formalizmo prie augančių ankstyvojo Renesanso humanistinių idealų. Gimęs gyvybingame kultūrinėje Sienos kraštovydėje apie 1280 m., Lorenzetti kūrybinė kelionė išskleisdavo Toskanos intelektualios ir meninės transformacijos laikotarpiu. Nors biografiniai duomenys išlieka tokie pat neįgamūs, kaip šešėliai saulėlydžio freskoje – tai dažna dilema menininkams jo erai – mokslininkų konsensusas rodo didelę įtaką iš Sienos garsiojo maestro Duccio di Buoninsegna ir Simone Martini. Paskutiniojo rafinuotas stilius giliai suformavo Lorenzetti estetinį suvokimą, o įrodymai leidžia teigti, kad jis tobulino savo meistriškumą dirbdamas kartu su Martini, įsisavinęs kruopštų dėmesį detalėms ir išraiškingą spalvų naudojimą, kuris tapo jo brandaus kūrybos žyminimo ženklu.
Lorenzetti meninis stilius išsiskiria neįtikėtinu tridimensionio erdvės suvedimu, savybe, kuri pranašavo revoliucines tokių menininkų kaip Giotto di Bondone naujoves. Skirtingai nuo plokščiores, labiau dekoratyvios aukštojo Viduramžio tradicijų, Lorenzetti siekė įtraukti žiūrėtoją į šventinę naraciją. Jo paveiksluose dažnai naudojama šviesūs paletės, teikiančios pirmenybę naturalizmui ir pertekančios gilią emocinę išraišką. Šis požiūris sutelkė dėmesį į neįtikėtinai tiksliai įtvirtintą žmogaus patirties esmę, atspindėdama humanistinį dvasią, sklandžiai plintančią po Europą. Įдалиę religinę ikonografiją suteikdamas pajautiam svoriui ir psichologiniam buvimui, jis užpildė prarastą atstumą tarp dieviškojo ir žemiškojo.
Lorenzetti kūrybos platus spektras atskleidžia menininką, gebantį sukurti tiek intymią tenderness, tiek monumentalų prachtą. Jo Šventosios Mergelės ir Kūdikiuko vaizdiniai tarnauja kaip rami meditacija apie motinystę ir dieviškąją švelnumą, naudojant šiltą paletę tapatybės ir tylios šventumo atmosferai sukurti. Šiuose darbu tarp Marijos ir Jėzaus ryšys yra atvaizduotas su švelni, žmogiška artıma, kuri kviečia tikintį į asmeninę sureikšmės garbinimo akimirką. Atvirkščiai, jo gebėjimas valdyti mastą ir dramą tampa akivaizdus daug šiurkesnėse temose. Jo Rybos scenos ir tokie vaizdiniai kaip Skausmo žmogus siūlo jautrius ir visceralinius kančios bei aukos vaizdymus, naudojant aštrus kontrastus ir emocinius gestus, kad sukrėstų stebėtojo sielą.
Be individualių figūrų, Lorenzetti išsiskirė sudėtingomis naratyvinėmis kompozicijomis, kuriose architektūrinis gylis buvo naudojamas teologinėms istorijoms pasakoti. Jo Žilės čiažuvė yra esminis Proto-Renesanso šedevras, rodantis gyvą biblijinę pagarbą, pilną stingrinančių detalių ir prabangių, brangiaugės spalvų. Be to, jo monumentalios freskos, tokios kaip Paskutinis sądėjimas, galingai perteikia sudėtingas teologines koncepcijas per dramatišką vizualinį pasakojimą, naudojant šio meio sklaistą, kad pribrendintų ir įkvėptų žiūrėtoją dieviškojo teisingumo mastu.
Pietro Lorenzetti istorinės reikšmės neįvertinti įmanoma. Jis nebuvo tik Sienos meistrų paveikslėjas, bet ir Renesanso revoliucijos pranašumas. Jo kruopštus gamtos stebėjimas, kartu su evoliucionine žmogaus emocijų ir erdvės gylio supratimu, įtvirtino jį kaip Sienos meninės paveldos pamatus. Jo įtaka išsiplėtė daug už Sienos sienų, įkvėsdama būsimas menininkų kartas siekti to natūralesnio ir psichologiškai sudėtingesnio pasaulio vaizdinimo.
Per savo kūrybą mes liudijame šias ilgalaikes įtakas meno istorijai:
